YPERALFEIA WORKSHOP
We create wreaths with fresh flowers—colorful seasonal blooms arranged in foam wreaths—to welcome spring!
Participation cost: €50
YPERALFEIA WORKSHOP
YPERALFEIA WORKSHOP
We create wreaths with fresh flowers—colorful seasonal blooms arranged in foam wreaths—to welcome spring!
Participation cost: €50
Banda Calda || CELEBRATION WITH BRASS INSTRUMENTS
At PLYFA, the musical valley of Banda Calda will flow on March 15, taking us on a journey through sound, from Pentalofos in Kozani to Pozar in Almopia. Since 2022, Banda Calda has embraced a constant challenge: bringing the distinct timbre of northwestern Greece into the urban landscape—into squares and parks, interwar taverns and museums, and now into the craft ecosystem of PLYFA. A place where, once upon a time, some of the workers might have quietly hummed songs from their homelands—the same songs that we, too, will sing.
Joining them as a guest vocalist: Michalis Michopoulos.
The venue will have a bar serving drinks, refreshments, and food.
Organization and production execution: Cirkelin – Peggy Tsolakaki.
SOLACE POP UP & EXHIBITION
Come find your favourite designers or explore new ones.
POLYXENI KARAKOGLOU LIVE
On the occasion of the release of her new single, titled “Tou Kosmou i Rota”, singer-songwriter Polyxeni Karakoglou is embarking on an acoustic tour across Greece, accompanied by two wonderful fellow travelers, starting from PLYFA.
Temporarily setting aside her signature electronic sound, she experiments with the dynamics of natural instruments and the unplugged aesthetic, opening a musical dialogue that includes songs from her previous albums, her upcoming release in October, and many more.
Polyxeni seeks to explore the vast universe of “woman”, which is also the central theme of her forthcoming album “Yposchesi” (Promise). This album was recognized and funded by the “ERATO” organization as part of a competition held in 2024.
DIPTYCH
DIPTYCH, the new project by Konstantinos Papasotiropoulos in collaboration with Eleftheria Agapaki, is presented for six days at the Foyer of PLYFA. Stefanos Vlachos, in the theater’s antechamber, performs a solo piece consisting of OKU NO HOSOMICHI and ARCHEION, presented in succession, capturing the work of the walking man.
A. OKU NO HOSOMICHI (September 2024, Ballas, 30’)
I am walking
I am walking
I am walking
I am walking
I am walking
A rectangular metal sheet surface laid with fine charcoal / a hole before the world / dislocated from the effort of observation / I receive the world / I walk / white light / the walking man sees with his fingers
B. ARCHEION (October 2023, Athens, 20’)
An imaginary cylindrical collage of snapshots from the lives of people who separated from themselves out of love / a man dances at its center / orange light / within the hole I am signified / perhaps the air / in the trace, the entire journey is stored / vertical arrangement of the body
Notes:
OKU NO HOSOMICHI is a stage adaptation of the eponymous travel diary by the classical Japanese poet Matsuo Bashō (1644–1694). This text follows the journey of Bashō and his student from present-day Tokyo to the northern provinces of Japan. In OKU NO HOSOMICHI, the journey of man through the world is captured. ARCHEION constructs a textual body with excerpts from the Synaxarion of Saint Nikodemos (1749–1809). At the center of a hole in his path, man connects with the body of the multitude of Saints.
DIPTYCH is an independent production of HËW.
MARSHES / CEMETERY
Giorgos Seferis partially translates the allegorical farces of the French Nobel laureate André Gide, Marshes and Prometheus Unbound, leaving them unpublished in his manuscripts. These texts provide the material for a performance that explores the clash between two worlds: the world of literature and the world of bestial labor, set within the fairy-tale universe of Little Red Riding Hood. The animals are trained to fear themselves and to sympathize with the humans who oppress them—a vicious cycle that awaits disruption by a Prometheus who is always on his way.
“We must try to bring a little variety to our existence.”
In a bourgeois Parisian salon, four writers meet again and again to discuss the writing of a book. While they prattle, a pack of animals labors ceaselessly to serve them. When these animals knock at their door—just as the wolf knocks at the grandmother’s—the salon is shaken. Trapped on opposite sides of the wall, humans and animals alike await a revolutionary act to liberate them from themselves. Among the writers arrives Prometheus, the mythical figure who has just been freed from the Caucasus, and the vicious cycle is broken. Who will survive this emancipation? Whose eulogy does Prometheus ultimately deliver?
“Why are we so obedient? Why are we so incapable of recognizing our enemy?”
Following the productions oRt I. A Man Can Break and Sacred Agony: On the Loom of Eva Palmer Sikelianos, the theatre company Protasi brings to the stage for the first time the political allegorical farces of André Gide, Marshes and Prometheus Unbound, through the incomplete and unpublished manuscript translations of Giorgos Seferis. An excerpt from the performance was distinguished in the 24 Hours Rush Project competition, organized by Mikri Academia (September 2024).
Director’s Note
Trapped in their literary salons, André Gide’s characters survive thanks to the toil of the animals in their garden. Their incomplete attempt at writing and the animals’ incomplete attempt at self-liberation mirror Seferis’ own translation—its errors, omissions, and poetic choices are transposed into the actors’ choreography. The act of translation itself unfolds on stage. The refined poetry of fin de siècle literature creates a suffocating necropolis where the animals tend to their own graves. A political allegorical farce about a city that ensnares its inhabitants in unfinished ideas and unfinished lives, forcing them to serve others and to place their hopes solely in the arrival of a messiah who is always coming.
Under the auspices of the Institut Français.
Duration: 90 minutes.
Carnival Milonga & Show
Tango Acropolis invites you to a special milonga in Keramikos, where the audience becomes the star of the scene!
For one night only, you will have the chance to dance on the stage of the amphitheater-style hall at Plyfa.
Dress in your most dazzling tango outfits and costumes and turn the night into your own performance at this festive carnival milonga.
At midnight, enjoy a unique surprise show by the exceptional and stylish duo, Nefeli Koumarianou & Nikos Papadimitriou.
On the music console: Vasilis Notis.
I WANT A COUNTRY
By Andreas Flourakis
There is no future for us here.
A group of young people feel they have no alternative but to leave their country. They come together to think, and dream of a new world.
Andreas Flourakis’ interdisciplinary work, written during Greece’s severe debt crisis, imagines a chorus of Greek youth as they lay out a manifesto of yearning for the homeland of their dreams. Will their desires come true?
The show features an international cast of FONACT actors and is performed in English.
Grandma, One Day Everything Will Die
(A performance about the end of the world)
Directed by: Giorgos Pavlou
Grandma has dementia. The family tries to help. They do everything they can. Everyone attempts to remind her of something from the “old days,” to shake her memory, to keep her alive through the past. But as they try to awaken her memories, it becomes clear that the past is already dead—nothing from Grandma’s world exists anymore.
Could it be that the end of the world is constantly repeating, and we are never there to witness it?
Giorgos Pavlou, along with last year’s graduates of the Drama School of the Athens Conservatory, presents a performance about the end of the world.
The theatrical text Grandma, One Day Everything Will Die emerged from the course Creative Writing – Performance Dramaturgy (Drama School of the Athens Conservatory, 2023-24).
Duration: 65′
With a double cast:
“CARNAGE”
by Makis Semertzidis
The human soul often remains bound—by psychological trauma, societal expectations, fear of truth and of one’s real self. It feels as if you are watching life through an indistinct, rigid, transparent wall, longing in vain to tear down what keeps you at a distance, while others live a life you cannot reach.
What is the first act of violence? What are the stages of this evolving brutality that shape the formation of a young person? The perception of violence takes on different dimensions. It is not only physical but also existential—where the refusal to mature, the suppression of identity, and unhealed wounds shape life as decisively as fate itself.
In this play, we explore the trapped self—Sebastian, an eternal child in a man’s body, and Violet, rewriting reality to maintain control. These two, almost archetypal figures, are transformed when a new force disrupts their fragile balance. Each character is imprisoned, confined by societal barriers and personal ghosts, seeking refuge in fantasy, only to discover that illusion is both sanctuary and trap.